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1

Foki Szumejowego podróże do źródeł. Pępek ziemi w ujęciu Stanisława Vincenza

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Żmidziński J.
Góry, Literatura, Kultura
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2017
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vol. 11
179-196
EN
Continuing Jacek Kolbuszewski’s exegesis of the spatial orders in Stanisław Vincenz’s Na wysokiej połoninie (On the High Mountain Pastures), the author of the article attempts to recreate the “philosophy of space” as formulated by the Homer of the Hutsuls. He carries out a detailed analysis of two fragments of the Hutsul epic: Maksym the seer’s story of a rock church from Barwinkowy wianek (Periwinkle Wreath) and Foka Szumejowy’s expedition to the navel of the earth described in Zwada (Squabble). In both case inspirations from Dante’s Divine Comedy can be seen primarily in the expansion of space: on the one hand to include the world of the dead and on the other — the universe understood in Platonic terms. Both journeys also have many characteristics testifying to their initiation-related nature. Particularly important in this respect is the expedition undertaken by Foka and his friends to the source of the Cheremosh River deep inside the Palenica Mountain, on top of which Wincenty Pol placed the point where the borders of three countries — Poland, Hungary and Romania — met. Although in the light of modern research such a location of the old border between the three states is wrong, this is precisely where Vincenz places the navel of the earth. It appear as a distant echo of the omphalos stone from Delphi; a mystical place marked by extraordinarily dense symbolism: centre of the world, bringing together the heavenly and the earthly orders, the living and the dead, and annihilating the temporal dimension. The interpretation of the symbolism of Vincenz’s navel of the world is complemented by Klucz (Key), which opens Zwada and in which the author suggests a universal dimension of the history of culture, and, at the same time, mystery-like nature of art, especially literature.
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Światowe granie — motyw wiatru. Pejzaż dźwiękowy Karpat Wschodnich w prozie Stanisława Vincenza

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Żmidziński J.
Góry, Literatura, Kultura
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2013
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vol. 7
101 - 119
EN
Drawing on R. Murray Schafer’s concept of soundscape, the author of the article analyses Stanisław Vincenz’s cycle Na wysokiej połoninie [High Mountain Pastures]. Vincenz, endowed with an extraordinary sensitivity to sounds, created a colourful picture of the acoustic landscape of the Eastern Carpathians, in which the crucial role is played by sounds generated by the elements: air and water, as well as, to a lesser extent, fire and earth. All of them are integrated and make up a complete, macrocosmic composition. The author of the article carries out a detailed analysis of the role of the wind, both as a soloist and a conductor of sounds generated by the forest. The wind part emerges throughout the cycle, though its distribution is not uniform — it plays the biggest role in volumes 1 (The Truth of Primeval Age) and 4 (A Vinca Wreath). The wind appears asa link between two dimensions: human and heavenly; it serves as a creator, similar to the biblical Divine Wisdom. The sounds of the forest play the main role in the fi rst two volumes, especially in A Fight. In addition to swoosh, which is musical in its nature, we have here many sound warnings protecting the sanctity of the forest. The volume, like the entire cycle, is a book about careful listening. The article is completed by a diagram showing the relations between the various levels of reality and the intermediating role of sounds and music.
3

Motywy muzyczne w prozie tatrzańskiej Stanisława Witkiewicza

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Żmidziński J.
Góry, Literatura, Kultura
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2016
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vol. 10
155-172
EN
The musicality of Stanisław Witkiewicz’s Tatra prose has so far not been studied by scholars in any detail. Following Andrzej Hejmej’s findings, the present author focuses first on musicality I, i.e. the sound layer of the text, in which ahuge role is played by extensive quotations in dialect as well as fragments of songs. This reveals one of the key principles governing Witkiewicz’s text – the principle of contrast. Next, the author examines musicality II, i.e. the level of thematisation of music. Here of considerable importance are sound images of nature, silence as well as murmur of streams, sounds of wind and stone echoes, and even of fire. The expression Witkiewicz uses here is “great music of nature”. Just as often Witkiewicz refers to highlanders’ music, especially Sabała’s playing, though it is treated more like aform of archaic, wild expression than original aesthetic quality.
4

Fłojera grała pierwsza. Muzyka w Na wysokiej połoninie Stanisława Vincenza a muzyka huculska

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Żmidziński J.
Góry, Literatura, Kultura
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2015
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vol. 9
205 - 224
EN
The author draws on Andrzej Hejmej’s concepts of three types of musicality in literature. Although all three types can be found in Stanisław Vincenz’s Na wysokiej połoninie, the author focuses on type II, i.e. descriptions of music, especially music made by people. In his entire Hutsul tetralogy Vincenz describes various kinds of music: from Hutsul music to Mozart, the sound of harmony, Jewish, Gypsy and Hungarian music, sporadically also mentioning devilish and heavenly music. On the other hand, the article does not examine the extraordinary wealth of descriptions of the sounds of nature. Hutsul music is evoked in a radical manner by Vincenz, who places sheet music before several chapters of Volume I. In addition, he frequently cites songs, both traditional Hutsul songs as well as their compilations and his own original poetry. Another way of evoking music is through frequent references to Hutsul instruments with their rich symbolism. The most important instrument in the tetralogy is the floyera. This edge-blown pipe known in various variants from East Asia to indigenous Indian cultures is perhaps the most primeval, traditional shepherds’ instrument among the Hutsuls. Almost all important characters in the tetralogy play the floyera masterfully: the hoodlums Ołeksa Dobosz and Dmytro Wasyluk, the farmer Foka Szumej and story-teller Andrijko, the legendary headman and the greatest of them, Dmytro’s friend, Kudej. In Vincenz’s vision each of them uses his musical skill and magical or even mystical properties of the sounds and of the instrument itself in a different way. There are references to the myth of Orpheus and the parable of Job. Although the floyera is primarily a solo instrument, it can initiate song and takes its own songs from the murmur of the forest or sizzling of fire. Playing the instrument can make a space sacred, thus it expresses the whole gamut of the player’s emotions: from joy and rapture to sadness and grief. The descriptions of music in Vincenz’s work are decidedly poetic, they do not refer to specific compositions and the writer makes the description even more vivid by changing the perspective: from a description of sounds entering into dialogue with nature and other instruments, through a description of the musician’s behaviour and the listeners’ reactions, to the symbolic dimension of sound and its impact on its surroundings. The power of the floyera is shown to the full in the story of the Syrojida. Its main protagonist, Kudil, was able, thanks to the “divine music” of the floyera, to inspire a desire for freedom in the enslaved swinemen, and restore their original, plant nature to their tormentors. Ultimately, the symbolism of the instrument draws on the Cross and the Holy Spirit.
5

Karpaty Vincenza. Mit — góry — literatura

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Żmidziński J.
Góry, Literatura, Kultura
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2012
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vol. 6
79-94
EN
The present article examines literary analogies in descriptions of the landscape in various distant areas of the Carpathians. The vision of Chornohora and its inhabitants created by Stanisław Vincenz in his tetralogy Na wysokiej połoninie [On the High Mountain Pastures] is confronted here with selected descriptions of the Tatras and the Pieniny Range in works of past and contemporary Polish writers. The striking similarities testify on the one hand to Vincenz’s excellent knowledge of the literature devoted to the Carpathians, and on the other — to the landscape and cultural unity of the entire range. In addition, Vincenz’s extraordinarily vivid, mythologised vision affects the perception of the entire Carpathians, constituting a kind of “imagination score.”
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„Wędrowiec-dantofil” w rodzinnej Italii. Stanisław Vincenz a włoska tradycja artystyczna

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Żmidziński J.
Poznańskie Studia Polonistyczne. Seria Literacka
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2020
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issue 38
77-101
EN
The article is the first attempt at a holistic view of Stanisław Vincenz’s relationship with Italian culture. Since his youth, Vincenz would visit the Italian Peninsula travelling to Venice and, already as an emigrant after World War II, made a few visits to Naples and Tuscany. These journeys resulted in numerous comments included in his essays on Dante Alighieri, as separate overview Z perspektywy podróży (From a traveller’s perspective) and List z Neapolu. Dialog z Czesławem Miłoszem (A letter from Naples. A dialogue with Czesław Miłosz). Italian journeys, interest in Dante and Italian culture (architecture, painting, folk rituals) brought numerous Italian motifs in the tetralogy Na wysokiej połoninie (On a high mountain pasture). The key element is included in volume II, Zwada (Conflict), which describes a group of loggers cutting down trees in a primeval Carpathian forest. In this part, a young Italian dies and is buried after a Hutsul funeral ritual which is not understood by the foreigners. The analysis of the abovementioned motifs shows how important Italian culture was to Vincenz, also in a very personal sense, given the Vincenz family’s distant Venetian roots. One may even claim that for the writer, Italy was almost a family land. Personifying the European spirit, Italy was his “broader” homeland.
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